Design Discourse One


    Design Discourse One introduces the key historical and contemporary movements, theoretical frameworks and research methodologies associated with design interaction and animation. The aims of this module include:

    • opportunity to develop an understanding of historical and contemporary movements and relevant theoretical frameworks.
    • importance of independent and group learning and critical awareness.
    • encourage the interrogation of research and appropriate case studies.
    • recognize the relationship between practice and research.
    • encourage that articulation of study skills and basic research methods.
    • encourage the articulation of contextual and case study research through oral, visual and written submissions.

    Perception – (definition)

    1. perceiving: the process of using the senses to acquire information about the surrounding environment or situation
    2. result of perceiving: the result of the process of perception
    3. impression: an attitude or understanding based on what is observed or thought.

    Firstly, we looked up the meaning of the word perception; this explained the definition of the word; from that point we understood what we wanted to achieve for our animation piece. The next step we took was to construct an idea for the animation; one member mentioned a ballad they knew, a local song from a catalogue developed by Francis James Child; this ballad was later popularized by a local Irish band called The Dubliners. The story is about an old woman that lived in the wood, she had a baby three months old and a long pen knife, which she stuck in the baby’s heart. Two police men and a man came and took her away and they put her in jail; she was trailed and hanged for her crime; and that was the end of the old woman who lived in the wood, and that was the end of the baby too. It is a creepy nursery rhyme/ fairy tale, kind of ballad; the song is called Weile Wiele Weila, and the original title of the ballad is named The River Saile, (because the old woman lived by that river).

These were the concept designs that I produced for the character and background pieces for the animation. The character of the old woman became a tricky concept. What the team wanted was to have her to appeal as both nice and lovable, but, also have a sinister quality about her appearance, which suggested her insane/ psychotic personality. However, it was soon after that one member of the team came up with the idea that we should bring in a secondary character, a twin personality of the old woman; a shadow that showed her darker nature. This shadow would follow her about the place, and show up or form only when some gruesome scenes were about to happen. We loved this idea, it was something I had not thought of before, when creating the look of the character. It was fortunate that this member had suggested this idea, because it made the character much easier to create; even though they were two characters in one it was fun to design.

Lorenzo Mattotti was an illustrator I had discovered when looking for inspiration, for the look of the animation. His works include illustrations for Edgar Allen Poe’s The Raven and Jekyll and Hyde; his works have an eerie appeal and provided the perfect source of reference for how we wanted to create the atmosphere of our animation.

Above are some of the early designs for the character of the old woman; I began interpreting other animators’ and illustrators’ styles: Edward Gorey, Sylvain Chomet and Milt Kahl. I felt I need to mimic their same approach to a character to train my mind or rather, direct my subconscious to generate a style similar in many aspects to these artists. However, this was only for reference and research/ study; which helped me train my hand and encouraged and inspired me to look for my own original design, that took influence from these references. 3653764926_draft_lens19782587module161805860photo_1347913176_xlarge autumn-cinematography black-and-white-movies-4-wide-wallpapers film_noir_big_combo-1 hanging-gallows hhsc-cinematography images images-2 images-3   edward-gorey-1 tumblr_inline_muiyjmrKz71s9qp95

We also looked at the animations of David Firth for our animation; what we wanted was a very creepy style for our animation. We decided on interpreting the same idea for the backgrounds in this animation. For our own design of the backgrounds we played around with the squiggles. We wanted our animation to be simple, but, also look creepy and weird; also with a fairy tale theme to lighten most of the atmosphere and mood. However, the squiggles in some of the scenes we designed to exaggerate the mood; if we wanted a particular scene to build up the tension and suspense, we dramatically played with the tone of light and the squiggles.

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We even began to reference from black and white films, researching the style, mood and tone of the cinematography;  we looked at films mainly from the black and white era, and one director that sprung to mind was Alfred Hitchcock. Hitchcock states (in A Talk with Hitchcock, part 1, YouTube), “It is not the pure matter of the story. It’s about what/how you do with it.” He claims: “Many people when they look at a film, they look at its contentonly. Never seem to study, (talking about the critical faculty): what was there in the film to make an audience go through these emotions.” Hitchcock also stated that a roller-coaster builder should be referred to as an artist/designer; because of the way he designs the loops and turns for the reaction of the rider. This is what a filmmaker should think about when creating a mood/ atmosphere for a film that is suspense driven. It is more about catching your audience off guard, alerting them and getting a reaction out of them, all for the purposes of entertaining them. A thriller movie can not  be called so, unless there is something there to suggest that this movie has thriller or suspense within each scene. Therefore when my team and I were developing and discussion this animation, we talked mainly about what our Perception theme would be. We came to the conclusion that fear, unnerving and sinister emotions were what would generate the Perception of the animation. Perception is the ability to see, hear, or become aware of something through the senses; so, these emotions were what we wanted our audience to feel/ perceive when watching the animation. Especially when it was a creepy story about an old woman who kills a baby and is hanged for her crime, how could no one have these feelings when watching a story like that. From this point, the team and I began to discuss scene length and the timing of our animations and we developed an animatic, to demonstrate and provide an idea for us to decide at which point in the animation do we want to exaggerate the action. One scene we worked on the timing for was the moment in which the old woman raises her pen-knife; we discussed how long would we hold the position of the hand raised before she slashes it down to suggest stabbing the baby. Also how slow the motion of the arm would last when raising up, this would create suspense, as the audience would be anticipating what would happen next. Even a scene where she (the old woman) walks towards the baby’s room; how would we play that out? Would she be heading towards the room, the audience viewing her from the back or would she be facing the audience and slowly advancing toward the audience in a sinister cinematic lighting; starting from silhouette and gradually forming as she gets closer to the screen. This was to give us an idea or plan out of what would create visually a suspenseful moment on the screen.

Animatic for Perception animation project Perception Storyboard/Animatic

I also remembered a classic Hammer Horror film; called The Nanny, starring Bette Davis. This performance from that particular actress was superb in every way; it was a film about a nanny who is a dominating figure within a household she assists, and I think I remember, it was about how one of the children had died years ago and she had returned and the young boy was a witness and was punished for accusing the nanny of the murder of his sister. The rest of the film sees the nanny try to keep calm with the disobedient boy, whom I think she soon tries to kill, so as to keep him quiet. Anyway, it is a brilliant performance from Bette Davis; her performance is achieved through the expression of her eyes. This film provided an excellent reference for my character of the old woman; what I have learned from researching and watching interviews from animators at Disney, etc. is that, the one thing you don’t want to make a mistake on is the performance of your character’s eyes; the eyes of a character act as a window into their subconscious and allow the audience to relate or understand what a character feels in a certain scene. So, the eyes of a character play the part of showing the audience what they feel or might be thinking about at a particular point in time; for example if they are a sinister character who has thought of an evil plot at one point in a scene, then their eyes should show this train of thought, in a series of movements and expressions of the face and eyes. This we hope to achieve in the animating of the character of the old woman and the character of the shadow. For the animation we plan to use Flash and create it as a Motion Tween.

(The inspiration for the story)

We also looked to the Tale of the Three Brothers animation in Harry Potter and the Deathly Hallows Part 1; as inspiration for the style of our animation. 

Other animated films, that were a source of inspiration for the theme of our animation. 

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(Above were some early ideas for the scenes, looking at lighting tone and cinematic efficiency.)

For our opening scene we looked to Walt Disney’s Bambi for inspiration, to influence how we would animate the trees parting to open the scene of our animation, like curtains opening to begin a play. In the opening scene of Walt Disney’s Bambi, there was a method used to achieve this effect known as the Mulitplane Camera.
abyss-scene1 baby-model-sheet babys-room-full background-corridor-scene1 background-corridor-scene-21 basket1 fall-scene1 hanging-scene1 shadow-face1 shadow-face-21 (Concept designs for the animation, above) The Team working hard with the animation. One team member took the photo.
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(Screen shot of work in process) Here is the team’s finalized animation for Perception.


I found this video on YouTube, Aaron’s Art Tips 8; in this tutorial/tips video blog, Aaron a former Disney animator, who work on the recent John Lewis Advert; discusses his view and experience from working with a clip or a piece of dialog. He give some very good tips about how not to over animate a scene.   Stills from Clip Couldn’t upload the sound clip we were given, so here are some stills from the scene we were asked to storyboard. We were also asked to not go back to the clip, as our tutor wanted us to attempt our own version of the scene. When first given this project I misunderstood the task given, and thought we had to use the clip as reference; my tutor saw me looking at the clip and thought I was cheating. I didn’t look at the clip/ scene after that.
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The Script I wrote out a script to help, taken from the audio track that was given to me.

The Many Adventures of Winnie the Pooh: The Blustery Day/ Happy Winds Day Scene Storyboard Project


Scene 1:

Leaves blow in the wind. Piglet is outside his house brushes away all the leaves in his garden.

Camera follows one big life, this life swoops Piglet off his feet, blowing him away in the wind.


Gasp! Whoops!

Piglet is blown away by the wind on the leaf.


Now, you’ve been here before. I don’t mind the leaves that are going.(Struggles to get to his feet, fighting against the wind)

Piglet manages to throw off the leaf, but is immediately swooped of his feet again.


It’s the leaves that are coming. (Fighting against wind pressure)Whoops!

Piglet bumps along with the wind, and eventually he bumps right into Pooh.


Happy Wind’s Day, Piglet.

Pooh’s head follows a struggling piglet, still fighting against the wind.


Well, it isn’t very happy for me.

Piglet is dragged away by powerful wind force.


Where are you going, Piglet?


(Struggling against wind) That’s what I’m asking myself, where? Whoops! P-p-p-pooh!

Piglet is blown off his feet again. Pooh follow at a trot behind Piglet, who is floating head length to pooh.


What do you think you will answer yourself?

Piglet begins to levitate higher. Pooh holds out his paw to catch the end of Piglet’s scarf


Oh, oh, oh… I’m unravelling! (Levitating higher, other end of the scarf now just thread) Whoops! (Piglet reaches out to grab the string) OH! That was a close one.

Piglet is high up in the sky like a kite. While pooh is struggling below to hold on tight to the thread.


Hang on tight Piglet!


Oh dear, oh dear, dear!

My Final Storyboard

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Sound Clip Project – Frank Sinatra Suddenly. We were given this project because our tutor felt we needed to understand the sync of sound and what sound effects do to help the progress of a film/animation etc. We were asked to research sound and to give a short presentation on the information we had found. What we were asked to look for was “How many levels of sound in film design?” Research List:

  • Diegetic sound and None Diegetic sound
  • The Score
  • Dialogue
  • Monologue
  • Foley
  • Beat Track
  • Scratch Track

For the research we were asked to stay within our groups; the group and I discussed our own points of sound and composers to research. Composers – Danny Elfman, Alexander Desplat, Hans Zimmer and Bernard Hermann. We were given a few examples of good video references for sound – King of the Sun (Emperor’s New Groove)-Snuff Out the Light Featurette and The Jazz Singer. The Jazz Singer was the first film to have sound in it.   The Sound of Music

Music cannot directly communicate narrative in the same way that dialogue can. However, it can provide a backdrop to visual events and dialogue and it is this subtlety that may position an audience in a way that dialogue cannot. Music is representative and emotive. It can engage an audience at a different level and capture their emotions rather than their conscious mind. It is difficult to avoid the emotive of a well-executed score.
Ways of Working with Music
There is one mode of storytelling that exists in cinema beyond that of showing and telling: music.  This facet of cinema can have a dramatic effect on character. Music can impact on our emotions and as such can limit what emotional impact a scene has upon us; and this is different in every film. It doesn’t matter whether it is the incidental music, a popular soundtrack or a themed score; it all affects us as an audience. This use of music has been treated by theorists as an aspect of narration, but it cannot tell, it can merely aid focalisation in relation to that which is being shown and told by affecting mood. This is the aspect of film that acts as a backdrop and some film-makers, such as Ingmar Bergman, feel it should not be included as it clearly breaks with presentation of both characters and events in terms of relating them directly to the real world. Whatever the use of music is within any film it is complex to identify its precise meaning – such is the nature of music. However, to ignore it is to ignore a powerful part of the signifying practice of cinema.
Manipulating sound – Redubbing a film is always an interesting exercise. In doing this you can see how the replacement of, say, a specific score with tangentially related popular music tracks fundamentally impacts on your ability to read the film, even down on the point of being able to view who the main characters are and what they do.  
Sound in the Cinema 
Loudness – The Sound we hear results from vibrations in the air. The Amplitude, or breath, of the vibrations produces our scene of Loudness, or volume. Film sound constantly manipulates volume. A dialogue between a soft-spoken character and a blustery one is characterized as much by the difference in volume as by the substance of the talk. In many films, a long shot of busy street is accompanied by loud traffic noises, but when two people meet and start to speak, the volume of the traffic drops. Loudness is also related to perceived distance. All other things being equal, the louder the sound, the closer we take it to be. This sort of assumption seems to be at work in the street traffic example already mentioned: the couple’s dialogue, being closer to us, is sensed as louder, while the traffic noise recedes to the background. In addition, a film may startle the viewer by exploiting abrupt and extreme shifts in volume (usually called changes in dynamics), as when a quiet scene is interrupted by a very loud noise. Changes in loudness may be combined with cutting or camera movement to reinforce our sense of moving toward or away from the source of the noise. Pitch – The frequency of sound vibration affects pitch, or the perceived highness or lowness of sound. Certain instruments, such as tuning fork, can produce pure tones, but most sounds, in life and on film, are complex tones, batches of different frequencies. Nevertheless, pitch plays a useful role in helping us pick out distinct sounds in a film. Timbre – The harmonic components of sound give it a certain colour, or tone quality what musicians call timbre. When we call someone’s voice nasal or a musical tone mellow, we’re referring to timbre. Timbre is actually a less fundamental acoustic parameter than amplitude or frequency, but it’s indispensable in describing the texture or “feel” of a sound. In everyday life, the recognition of a familiar sound is largely a matter of various aspects of timbre. Filmmakers manipulate timbre continually. Timbre can help articulate portions of the sound track, as when it differentiates musical instruments from one another. Timbre also comes forward on certain occasions, as in the clichéd use of oleaginous saxophone tones behind seduction scenes. Loudness, pitch and timbre interact to define the overall sonic texture of a film. For example, these qualities enable us to recognize different characters’ voices. Both John Wayne and James Stewart speak slowly, but Wayne’s voice tends to be deeper and gruffer than Stewart’s querulous drawl. This difference works to great advantage in The Man Who Shot Liberty Valance, where their characters are sharply contrasted.  
Knowledge Nugget: When Bernard Herrmann obtained the effects of shrill, birdlike shrieking in Hitchcock’s Psycho, even many musicians could not recognize the source: violins played at extraordinary high pitch.   REFERENCE BOOKSFilm Art: An Introduction, Tenth Edition, David Bordwell and Kristin Thompson – The Language of Film, Robert Edgar-Hunt, John Marland and Steven Rawie.
Ben Burtt
An American sound designer who has worked on various films including: the Star Wars and Indiana Jones film series, Invasion of the Body Snatchers, including the “voice” of R2-D2, the lightsaber hum, the sound of the blaster guns, and the heavy breathing of Darth Vader. Burtt also used a recording of his wife, who at the time was suffering from a minor cold and was sleeping in bed, for E.T. the Extra-Terrestrial. He created the “voice” of the title character and many other robots in Pixar’s film WALL-E (2008), about a lonely garbage-compacting robot.
Jim MacDonald
Sound Effects Artist and voice of Mickey Mouse (1947 – 1977). Sound Effects Bambi and Snow White and the Seven Dwarfs.
COMPOSERS The Score Composer has to be focused on the story and the emotional content of the film. All the artists have worked hard to tell the story with their performance or artistry. If their work does not evoke the desired emotion, the composer won’t be able to help it much, but if everything is working well, then music can take the project to a whole new level.
Alexandre Desplat
A French film composer; he has five Academy Awards nominations, six BAFTA nominations, and two Grammy nominations, Desplat won his first Golden Globe for The Painted Veil in 2006 and  his first British Academy Film Award in 2011. Among various projects, Desplat has worked on a variety of Hollywood films, including independent and commercial successes like The QueenThe Curious Case of Benjamin ButtonNew MoonFantastic Mr. FoxHarry Potter and the Deathly Hallows – Part 1 and Part 2, and The King’s Speech.
Danny Elfman
An American composer, from 1976 to 1995 and later for scoring music for television and film and creating The Simpsons main title theme as well as the 1989 Batman movie theme. He has scored the majority of the films for his long-time friend Tim Burton. He has since been nominated for four Academy Awards and won a Grammy Award for Best Instrumental Composition Written for a Motion Picture, Television or Other Visual Media for Tim Burton’s Batman[2] and an Emmy Award for his Desperate Housewives theme. Elfman was honoured with the prestigious Richard Kirk award at the 2002 BMI Film and TV Awards. The award is given annually to a composer who has made significant contributions to film and television music.
Bernard Hermann
An American composer known for his work in motion pictures. An Academy Award-winner (for The Devil and Daniel Webster, 1941; later renamed All That Money Can Buy), Herrmann is particularly known for his collaborations with director Alfred Hitchcock, most famously PsychoNorth by NorthwestThe Man Who Knew Too Much, and Vertigo. He also composed scores for many other movies, including Citizen KaneThe Ghost and Mrs. MuirCape Fear, and Taxi Driver. He worked extensively in radio drama (composing for Orson Welles), composed the scores for several fantasy films by Ray Harryhausen, and many TV programs including Rod Serling’s The Twilight Zone and Have Gun–Will Travel.
Thomas Newman
An American composer and conductor best known for his many film scores. Newman has received a total of eleven Academy Award nominations, although, as of 2013, he has yet to win the award. He has won two BAFTAs, five Grammys and an Emmy, and has been nominated for three Golden Globes. Newman was honoured with the Richard Kirk award at the 2000 BMI Film and TV Awards. The award is given annually to a composer who has made significant contributions to film and television music. Finding Nemo director Andrew Stanton always wanted to work without literal songs, but with a score that could capture the etheral universe under the sea. He not only listened to other soundtracks, but also cut representative pieces of music into the story reels to see how it felt with the story, including some by composer Thomas Newman. Newman the composer of The Shawshank Redemption and Pay It Forward, turned out to be the perfect fit for Finding Nemo.
Diegetic – this use of music was the only type used in films in the early sound era. Any background music, which did appear, was used during the transition from one scene to another. The first is that the coming of sound added a further layer of reality to film: characters became more fully realized; sound effects, such as everyday noises, created a verisimilitude which audiences had not encountered before. Within a few years, however, background scores were added to restore the emotional involvement which had been removed by its omission.
Scratch Track – Final music composed after completed animation – rough soundtrack (scratch track) created before the animation begins. Scratch Track is timed to animatic – example of an animated feature film  specifically composed to music is Fantasia – entire point of the film was to create an animation that reflected the story the music told. – easier to edit the animation to better fit the music than it is to completely re-compose a track to fit a change in the animation. – sound effects added to later – not part of the scratch track – full length scores, easier to plan the animation to match the music. Mix – The adjustment of individual sound elements to create a pleasing, final combination of sound. Dub (also called Dubbing or Mixing) – Process of combing sound together until the right balance of dialogue, music and sound effects is achieved. Sound Reading – A frame-accurate transcription of vocal performance. The sound reading will be used by the animator to move the character in sync with a line of dialogue. Foley – Process of recording live sound effects while the film is being projected. A Foley Artist performs sound to match the picture. Footsteps, movement of cloth or paper, and any other sounds that have to synchronize closely with the picture are often recorded this way. Sync (short for Synchronous) – Elements of picture and sound being played together at the same time. Monologue – A long speech by one actor in play or film, or as part of a theatrical or broadcast programme. Quote “Songs are everything in a true musical, because they are used to express the major turning points in the story. In fact, the story has to move ahead of the songs, or it will seem as if the movie has stopped dead just to give the characters a chance to sing.”
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Reference: The Alchemy of Animation: Making an Animated Film in the Modern Age, by Don Hahn.
We were then given a sound clip; my team and I were given, “Suddenly” starring Frank Sinatra. The sound clip our tutor had given us had the audio/sound taken out of it; so, our task was to apply it with sound etc. We were asked to make it different to the original. Our Script was… Policeman – Return fire! (Gunfire) Policeman – Hold you’re fire! Man at back of room – Kid! Gunman – It didn’t stop! It didn’t stop! It didn’t STOP! (Gunshot) Gunman – No! Don’t! No! No! Don’t! The first thing the team did was to make a list of films we thought would be best to reference for inspiration of our clip. We looked at…

  • Public Enemies
  • Gangster Squad
  • Django Unchained
  • The Great Gatsby

Sound effects artists we talked about were Ben Burtt – Wall-E and Starwars SFX Artist, and Jim MacDonald – Disney SFX Artist. We downloaded most of our sounds from We even made a list of SFX we needed for the clip… and wrote them out on a plan out sheet.

Sound Clip 05: Suddenly (1954), starring Frank Sinatra

Sound Effects Plan-Out Sheet Sequence 1:

 ACTION: People in room, gun fire begins; some are hostages and two men are gangsters. One of the gangsters is shooting out of the window down into the street at some policemen outside. DIALOGUE: No dialogue at this point. SFX: Machine gun / gun fire, people moving around the room. One gangster screaming madly. MUSIC: very pacey score – created in Garage Band. DURATION: 1 secs. (This is an example of how we planned and laid out the Plan out sheet.) Context Project Research and find a popular film clip, 30/45 sec; choose dialogue from three main characters. Take it out of context, don’t name the clip or characters chosen. Time it to 30/45 sec, exactly: type it up – give it to another group and the next group will film and create an animation, animatic or live action film etc. Aim: Look for story conveying the context. Not looking for good/beautiful animation – keep it simple. For this project focus more on dialogue and timing the SFX. This project is more on the process of acting/voice acting, and timing the words to fit the timing of the clip. Research – What is an animated script? Clip Chosen – (See if you can guess which film it is from?) Script Character 1: What is this, sister? Odds Badkins! Character 2: Farewell, mortal bus boy! Character 1: Oh, my! Character 3: What are these? What’s that? Character 1: Um? Character 3: What is that? Character 1: Uh, Hobgoblins? Character 3: Oh! All: Oh! Ooh! Character 4: Bless you. Character 1: Enough! Character 3: Uh sister, I’m very confused I… I smell children, but I don’t see children. I… I’ve lost my power! Character 1: Enough, enough, enough! Character 3: Sorry. Character 1: We are Witches! We are evil. Character 3: Evil. Character 1: What would mother say if she could see us like this? Character 3: Oh! Character 2 & 3: Mother? Character 5: Mwahahaha! All: Master! The script we were given… Script Character 1 to character 4: What do you think? This outta be the right kinda place for a tough guy like you! Character 1: Garbage cans…. Rats Galore! SCRAM! I said TAKE OFF! BEAT IT! Character 1 to character 3: Let’s go! Character 3 to character 4: Driver, pull over here. Character 3 leaves. What is an animated script? Resource found at
3 Start the script – Here is a good example of script layout.

  • Title
  • Scene – (whenever your characters are in a new location or new set of characters are introduced in a new spot, a new scene begins).
  • Description: add the character’s in the scene, their interactions, and their reactions to what is happening.
  • Dialogue: whatever talk is going on and who is talking.
  • SFX: sound FX you plan on adding later.

Who? Where? What? When? Why? How? We figured this out to sound like some sort of gangster movie. The dialogue led us to think of it like this because of the American tone of the accent. I guess we all had the same kind of impression because when we sat down to discuss it, we all said exactly the same thing. The scene we all agreed had a sort of argument scenario to it. We imagined that character 1 was arguing with character 2, who had no dialogue within the piece. We figured character 1 and 2 lived in a rough kind of alley apartment in New York/Manhattan, somewhere between 1920/30’s. It wasn’t till later we found/discovered that the script came from Breakfast at Tiffany’sstarring Audrey Hepburn. Which was brilliant, we had managed to create and bring the script completely out of context which was what our aim was to achieve. What we began to do was build on the story; our first idea was to make it comical so we brought the idea of animals into it; we created a range of concept art for the characters, and backgrounds. We had an idea to make character one as a cow, and the story was they were out in the street, arguing about something. We had imagined that they were looking at places to stay, shopping around for a gangster hide out or apartment. The other characters were to be related to farm animals, Bull, sheep and crow. We saw this as not really going farther and were struggled with what would be the end/climax of the piece. That’s when I suggested a character design of a cat instead of a cow; we agreed that it was a much simpler design to work with, as the cow was a bit of a challenge to create as an appealing character that the audience would believe fitted into that environment. Cats seemed to be a good idea, because as one member said they convey a strange sense of mischief and devious characteristic. This changed the whole story structure; we began seeing it as an argument within their apartment, that the cat character was fed up with her cat partner who was a gangster; and they were arguing about life in the slums. This, one member said, made it comical, especially when she shouts at the rats in the alleyway from the window, because it takes on the idea of cat and rat conflict. Character 3 and 4 stayed as a sheep and crow; as Character 3’s design fitted into the trend of the 1920/30’s really well, her wool we had designed to be like some sort of fashionable clothing which she would wear. The Style we choose was 1920/30’s film noir and the fashion of the 1920’s/30’s. Theme: Black and white, gangster, splashes of red (to suggest blood), city scape, smoky area. Story Board Character Designs

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argument scene1 argument scene1 argument scene3 argument scene5 argument scene7 argument scene9 argument scene10 argument scene12 argument scene14 car lift scene car lift scene2 catwalk scene3 catwalk scene4 catwalkscene8 catwalkscene9 cityscape garbage can Rat scene Rat scene2 Rat scene4 Rat scene5 Rat scene8 Rat scene9 Rat scene9 Rat scene10 Rat scene12 Rat scene13 Rat scene14 rats pop out Movie  Poster/Banner Design
Like Some Other Men Do Poster
Influences: Clarabelle Cow, Jessica Rabbit – Who Framed Roger Rabbit?, Betty Boop, Cruella De Vile, Miss Piggy, Good Fellas, An American Tale, Rango, Sin City, Godfather, Funny Animal Animation, Home on the Range, Gun Crazy and Paperman, also inspiration for background came from animation called Pegassus.
Animatic Context project feedback
We were given feedback on our animatic from our tutor; this is what was said….

  • Could not understand the character’s voice as it was too fast, and high pitched
  • In the shot where she throws the flower pot and then she walks to the car it looks like the pot is being thrown on her own head. We should have shown it hitting the rats, or rats scuttling off.
  • We needed a sound for her heels walking off
  • He could not understand where the male cat was and how he got up to the roof; he didn’t realize the roof was a roof.
  • We didn’t need to show the clock, we could have shown the male cat looking at his watch
  • We needed to show the male cat on top of one of the buildings when the sheep gets shot, as you cannot see him.
  • When sheep gets out of car she is at the wrong side of the road
  • However, on a positive note, he said he didn’t expect it to be animated and we have done a lot of work for the time we had to do it, he said we were smart doing it in that time period and he really liked the style. Basically we had problems with the continuity of shots and some trouble with sound.  He wants us to work on that in our future projects.

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